Major Project II
3/02/2026 - 29/03/2026
Week 01 - Week 7
Amirah Akbar Ali (0361001)
Bachelor of Design (Hons) in Creative Media
Major Project II
LECTURES
Week 01 (3/02/2026)
During this week's lecture, Ms Vitiyaa and Ms Noranis spoke to us on what to expect this semester.
Here are some of my notes:
- Major Project is consultation based. In first few weeks, come to class and propose your new topics or continuation from Major project I topic.
- Then, will need to set consultation weekly. Not necessarily on class timing. Supervisor will then take attendance to put in manually according to consultations.
- Change of topic not advisable from Week 05 onwards. After this, it's hard to excel.
- Ensure you meet the rubrics in order to get a good mark.
- Work in a group or partners, cross specialisation. But the scale must reflect. Each members wld be graded accordingly.
We are free to consult any of the supervisors for assistance and specialisation advises on the execution of your Major Project II. So, you can follow your schedule or based on your project's needs, as you will be able to move between rooms for your consultation:
-
Tuesday 8AM - 12NN
- Ms Noranis @ E7.14 (General)
- Mr Razif @ D3.06 (UI/UX, Immersive Design)
- Mr Ronald @ E1.01 (Immersive Design)
- Mr Shamsul @ D3.10 (Graphic Design, UI/UX)
- Dr. Wong Chui Yin 黄翠燕 @ D3.07 (UI/UX)
- Ms Vitiyaa @ E7.15 (Graphic Design)
- Thursday 8AM - 12NN
- Mr Kamal @ D3.09 (Digital Animation)
- Mr Kannan @ D3.07 (Entertainment Design, Digital Animation)
Major Project I to Major Project II Flow:
- Graphic Design projects: https://docs.google.com/document/d/10Taa3SYAqGMw2ofqD0VWmUdVcFZ_jaSI/edit?usp=sharing&ouid=11362213…
Week 01:
Figure 1.1 Timeline Progression
After shifting from a group of four to a duo, Adrianna and I spent our recent breaks diving into a fresh project: a mental health toolkit designed specifically for the modern hustle. Inspired by seeing our Gen Z and Millennial peers battle burnout and anxiety while balancing multiple jobs, we realised how dangerous it is to ignore those physical warning signs. As graphic design majors, we’re merging wellness with innovation by crafting interactive packaging that feels as good as it looks. I’ve already started building the initial box prototypes, following a "product-first" philosophy where the outer shell evolves naturally around the internal components to ensure everything feels seamless and intentional.
Figure 1.2 Initial Idea: Products to include
Initially, the products we wanted to include inside were cards,pen, journal, scent trip and a sensory item. However,
the packaging would be simple and straightforward like a squared box, as referenced below:
Figure 1.4 Packaging Ideation Sketch
Figure 1.5 Packaging with Product Placements
Our branding journey has been a process of deep refinement, evolving through several iterations as we uncovered the true Pause, a direct and urgent invitation for the modern hustler to stop, breathe, and finally acknowledge the physical and emotional signals they’ve been ignoring. It was a straightforward call to action in a world that never stops moving. However, as we developed the physical tools within the kit and realized how much they encourage deep self-reflection, we pivoted to UnSaid. This name felt far more intimate and personal; it positioned the toolkit as a sanctuary for all those suppressed emotions and heavy thoughts that people carry but rarely voice. It became a bridge between what is felt internally and what remains unspoken to the world.
Eventually, our search for a name with deeper historicalresonance led us to Shiori. Rooted in an ancient Japanese tradition, the term originally described the practice of bending or snapping tree branches to mark a trail through a dense, unfamiliar forest—essentially creating a "save point" so travelers could find their way home. Over centuries, this concept of a physical guide evolved into the modern word for a bookmark.We felt this was the perfect metaphor for our project: a guide that helps individuals navigate the "dense forest" of burnout and anxiety, providing them with a clear path back to their own well-being. By choosing Shiori, we’re framing our toolkit not just as a product, but as a vital marker on the map of self-care.
To wrap things up, Adrianna took the lead on the logo sketches while we went back and forth on the final name and visual direction. I explored a few different marks for "UnSaid," but those ended up being part of our creative discovery process while we were still weighing our options. Ultimately, once we landed on Shiori, we decided to lean into a clean, minimalist aesthetic that feels both modern and calm.
Figure 1.7 Shiori as the brand name
I’ve been working on a series of box prototypes that really showcase the intent behind every compartment. The goal was to create something more than just disposable packaging; we want this to be a high-quality, practical storage piece that users will want to keep and repurpose for their own personal items. By focusing on the structural details now, we’re ensuring that the physical experience of opening the toolkit feels as intentional and supportive as the mental health resources inside.
Week 02:
By Week 2, we were ready to move from screen to reality. Before any cutting began, we finalised all the dimensions digitally to make sure the fit would be pixel-perfect. With the blueprint set, I took the lead on the physical assembly, repurposing several corrugated shoe boxes to build our first full-scale model. This prototype has been essential for showing exactly how the packaging moves and how our unique mechanism actually functions in your hands.
After several rounds of feedback, our packaging concept is feeling solid, though we’re still fine-tuning the finer details to ensure a seamless user experience. We’ve been weighing our material options—from high-gsm corrugated and rigid boards to more tactile choices like balsa wood—to find the perfect "feel." A consultation with Mr. Shamsul was particularly eye-opening; he pointed out that our current slanted top isn't stackable or shelf-friendly, a practical reality we hadn't fully considered. His insights have been invaluable as we refine the dielines and ensure every measurement is locked in for production.
On the branding side, we’ve leaned into a "don't judge a book by its cover" philosophy. Our previous palette felt a bit too muted and disconnected, so we’ve pivoted to a clean, understated exterior using white and blue to create a striking contrast with a more vibrant, soulful interior. Our lecturers have given us the green light on this direction, and we’re now experimenting with embossing to add a subtle, sophisticated texture to the packaging. It’s all about creating that moment of discovery when someone finally opens the box.
Figure 2.3 Amirah’s Color Options
Figure 2.3 Adrianna’s Color Options
According to Adrianna, The monogram logo is built around theidea of a “hug”. She wanted the letters to literally embrace each other. The process started by curving the letter “S” and experimenting with thin and thick strokes to get the right balance. From there, the letter “E” was conjoined to complete the "hug" visual. This rationale ties directly back to the brand's core values.
Figure 2.3 Digitisation of Monogram
Figure 2.3 Logotype and Logomark
After sitting down with our lecturers, we officially got the green light on the monogram! One of the best tips came from Miss Vityaa, who suggested rotating the mark to help the visual flow. It’s actually a bit of a "hidden in plain sight" design—if you look closely, the monogram weaves together all the letters of E-N-S-A-I-D, not just the 'S.' Rotating it really helped pull that full brand story together.
The logotype, however, still needs some love. The feedback was clear: our current font choice just doesn't vibe with the new monogram or the brand’s soul yet. It’s been a bit of a marathon of font-searching and back-and-forth experimentation, but we’re determined to find a typeface that feels as intentional as the rest of the project.
Week 03 & 04:
Moving into weeks 3 and 4, we shifted our focus to sourcing the right materials, especially for the interactive journal. I headed over to Westar while we stayed connected via video call to talk through our options and make sure everything aligned with our vision before she hit the checkout. Since we’re being really intentional with our choices, we actually didn't need a huge haul to get this stage of the project moving.
We focused on grabbing only the essentials for now, planning a second trip to a different art shop the following week to round out our materials. Even though it was a holiday week, we kept the momentum going by diving deep into the packaging, product designs, and branding from home. We’ve been checking in regularly to update each other on our progress and troubleshoot the box construction, exploring every possible angle to turn our vision into a functional reality.
Adrianna and I spent our holiday refining the core of the brand—the packaging, product designs, and overall identity. After chatting with our lecturers, we realised that while the foundation is solid, we really need to push the details to make the entire experience feel seamless.
For the packaging specifically, Amirah and I were concerned that the sliding top drawer felt a little underwhelming. Currently, the lid can be removed entirely, but we want it to feel more integrated and sturdy. We’re now experimenting with a stopper mechanism so the lid remains attached to the base, and as our lecturer suggested, we’re going to run plenty of tests on this before we commit to the final print.
Gemini said
For the products themselve, Adrianna structured the 30-card deck to guide users through different levels of emotional intensity—low, medium, and high—complemented by 15 affirmation cards. The initial feedback was that the designs felt a bit too plain, so we’re completely revamping the look of the affirmation cards with vibrant gradients. By injecting more color and energy, we’re ensuring the visuals truly align with our brand soul and feel as "alive" as the support they provide.
Figure Guided Card Design Draft
Figure Color Exploration 1
Figure Color Exploration 2
Final Color Pallette
To keep our visuals grounded, Adrianna been heading outdoors to collect real-world textures like leaves,branches, and stones. The goal is to strip away that overly"digital" feel and replace it with something organic and tactile that mirrors the stability we find in nature. These raw elements aren’t just for show—they represent the idea of staying rooted and standing tall, even when life feels like a whirlwind of anxiety or burnout.
On the product side, I refined the journal into a focused, three-month version for testing, stripping out specific dates so it’s completely flexible for whenever someone needs it most. Our branding is also reaching its final form; after perfecting the monogram’s weight, Adrianna decided to skip the standard fonts and hand-sketch our logotype from scratch. This ensures every curve of the lettering perfectly matches the energy of our mark, making the entire brand identity feel custom and cohesive.
Figure Logotype Exploration
Figure Digitsation
The entire concept is built around the idea of standing tall and truly embracing who you are. Adrianna have been hunting for typography that strikes that perfect balance—clean and modern, yet possessing a raw, unique character that doesn’t feel over-styled. A standout detail in our new wordmark is the "E," which we’ve flipped horizontally to mirror the phonetic "ensed" roots of our name. By conjoining the letters, the entire logotype feels much more harmonious and interconnected, physically representing the sense of wholeness we want our users to find.
We finally locked in our dielines after a marathon of measuring and re-measuring! Once we were confident the structure perfectly matched our physical prototype, we began the hunt for the right manufacturing partner. We cast a wide net, reaching out to factories in Guangzhou, China, as well as several print shops across KL—ranging from boutique studios to large-scale production house.
The goal is to see how different suppliers handle our specific technical needs, especially that crucial stopper mechanism and the premium materials we’ve chosen.Comparing these options is giving us a crash course in the production world and helping us decide who can best translate our "solid" design into a high-quality, tactile reality.
Die-line exploration
Adrianna and I hit a bit of a technical wall this week while trying to finalize our dielines.The biggest hurdle was the uncertainty surrounding our materials; since we haven't officially committed to one yet, it’s tricky to lock in the exact measurements—especially while waiting for feedback from our suppliers in KL and China. We found ourselves caught in a deep debate over whether to include a folding flap or keep the parts separate.
If we go with a rigid box, it’s a whole different ball game of gluing separate components together compared to a standard single-sheet fold. This definitely stalled our momentum for a moment, but we aren't letting it rattle us. Our original corrugated prototype was a success, so we know the core "bones" of the design are solid. We’re determined to make this work, even if it means tweaking the technicalities once we finally have the right material in our hands.
Foundation of Packaging
Draft 2 design for exterior
By Week 5, we decided to put our corrugated material to the test. While it was easy to work with, the thickness of the board threw our digital measurements off by a few inches,leading to some uneven edges. Despite the slight misalignment, we pushed forward with this second prototype to focus on the "push and pull"physics of the top sliding drawer.
I brainstormed a stop-motion idea: a small internal slit and tab system designed to catch the drawer right as it hits the edge. It seemed like a solid lead at the time, but as we built it out, we realized it wouldn't quite hold up for the final production. The lid also gave us some trouble, refusing to stay properly anchored to the main body of the box.We’ve been cycling through different attachment methods and materials, determined to find that perfect, satisfying "click" that makes the whole mechanism feel high-end.
Figure Corrugated Box Experiment 2
Final Design
We’ve been diving deeper into material exploration, searching for something sturdy enough to handle the sliding compartments while ensuring the top lid flips and closes with a smooth, premium feel. On my end, I’ve been navigating some challenges with the interactive journal; the content for those pages is becoming quite extensive, and figuring out how to print and attach them all as separate, engaging elements has been a bit of a puzzle.
To help solve this, we both headed to Art Friend for a second round of material hunting. It turned out to be a successful trip, as Imanaged to track down several specific papers and supplies that are exactly what we need to bring the journal and the packaging to life.
We spent the rest of the week deep in the trenches of design, refining every corner of the box to ensure the final output is as polished as possible. With the visuals finally locked in, we’ve even started printing the first batches of our merchandise and brand collaterals to see how they look off the screen.
Bookmark design work progress The last two weeks have been incredibly high-pressure as we hit one dead end after another with manufacturers. Between outright rejections of our complex design and minimum order quantities (MOQs) of 500 units, finding a partner who fits both our vision and our budget felt nearly impossible. We actually attempted to build the final version ourselves using corrugated board, but that process quickly shifted from a "final" to a "second prototype" once we realised it just didn't meet our quality standards.
The thickness of the corrugated material didn't translate into a "solid" or premium feel, and getting every measurement to align perfectly across each side became a technical nightmare. In a scramble to find a better alternative, we scouted several art shops for new materials. We looked into basswood, but after all our previous rounds of experimentation and exploration, the cost was simply beyond what our remaining budget could handle.
After a lot of careful deliberation, Adrianna decided to invest in five A0-size MDF boards. We calculated this exact amount by learning from the measurement mishaps of our second prototype, meticulously mapping out every panel and side to ensure no material goes to waste. It’s been a bit of a hurdle, as most print shops told us they couldn't help; they typically don't stock rigid board in A0 sizes unless it's for large-scale factory runs.
Because of that, we’ve officially taken matters into our own hands and started constructing the packaging using the MDF board ourselves. It’s a more hands-on, artisanal approach, but it gives us the control we need to ensure the final product feels as "solid" and premium as we originally envisioned.
Fig Construction of Packaging
It is a classic "theory vs. practice" design hurdle—digital measurements are perfect on a screen, but they don't account for the physical "heft" or "give" of a material until it's in your hands. Switching from the bulk of corrugated board to the dense, slim profile of MDF completely changes the math of your tolerances. Those extra millimeters might seem small, but they’re the difference between a drawer that glides smoothly and one that rattles around or feels "cheap."
Since you're manually adjusting now, you're essentially "shimming" the design in real-time. It’s definitely a more artisanal way of working, but it ensures that the final"solid" feel you're chasing is actually achieved through physical testing rather than just a digital guess.
Switching to the machine was definitely the right call.For a project that relies on a "solid" and premium feel, those perfectly square, machine-cut edges are going to make the assembly much more satisfying (and a lot less stressful). It turns the construction from a struggle with the material into a precise assembly of parts.
The drawer construction turned out to be a surprisingly stubborn challenge. That "slide-in, slide-out" motion sounds simple on paper, but achieving it with MDF is a balancing act. Initially, the friction was just too high, making the movement rough and clunky. We tried sanding the sides to thin them down, but even that didn't give us the smooth, seamless glide we were chasing.
In the end, we had to go back to the saw and trim a few millimeters off the panels. Creating that deliberate physical gap between the drawer and the outer shell was the only way to get the clearance needed for a functional pull. It’s a tiny adjustment, but it makes all the difference in making the toolkit feel like a premium, well-engineered product rather than a tight squeeze.
Day four of construction really put our patience to the test. We hit a major roadblock when we realized the sides of the box were ending up at different heights, which meant the cover was sitting lopsided and was far too loose to actually "lock" or close properly. It was a frustrating moment, but we knew we couldn't just patch it—we had to pause, step back, and redo the entire structure.
We went back to the drawing board, literally sketching out the elevations again to ensure every panel was perfectly symmetrical. This recalibration was essential to make sure the top doesn't just sit closed when the toolkit is being handled.
Screw the hinge in between the top and bottom.
Lid is able to open smoothly.
One of the most frustrating moments of the week was realizing the stickers we’d ordered early on didn't match our updated MDF measurements. Because we couldn't afford to let the branding look misaligned, we had to pivot immediately, reordering a full A0 print that same night to ensure every label fits the new dimensions perfectly.
On a brighter note, the journal was finalized in just a few hours, allowing us to move straight into the interior "nesting." We’ve been crafting custom foam inserts to house each item within the box, covering them in felt for a soft, high-end finish. Not only does this provide a "snug" layer of protection, but it also creates that organized, intentional reveal that gives the toolkit its premium, "solid" feel when first opened.
The UV Spot kintsugi pattern sticker.
I took on the meticulous task of disassembling the printed journal pages to manually re-integrate the interactive elements. To ensure the spine could handle the significant thickness of the book while maintaining a "grounded" aesthetic, she opted for a hand-bound finish using yarn thread. This choice doesn't just add a layer of durability that standard glue or staples couldn't provide; it also gives the journal a customized, artisanal feel that aligns perfectly with our brand's tactile, organic identity.
Using a heavy thread like yarn allows the journal to lay flatter when opened, making those interactive pages much easier for the user to engage with. It’s a labor-intensive process, but it turns the journal from a mass-produced item into a handcrafted companion for the toolkit.
Week 07: This comprehensive final outcome for Major Project II centers on the core concept of "standing tall" and finding stability during burnout, realized through a premium, tactile brand identity. The center-piece is a hand-constructed MDF toolkit featuring a precision-engineered sliding drawer and a felt-lined interior that houses our custom merchandise and collaterals with a "solid," high-end feel. Visually, the packaging transitions from raw, nature-sourced textures to a "frequency flow" side design, acting as a metaphor for shifting emotional energies. This hand-bound 3-month interactive journal, which utilizes a durable yarn-thread binding to accommodate its thick, customizable pages and reminder cards.
To complete the ecosystem, our Instagram and website mirror this whimsical yet calming vibe, using conjoined typography and the signature flipped "E" to create a seamless, harmonious experience that bridges the gap between the digital world and the grounded, physical toolkit.
Rethink suitable and practical materials to construct the box packaging.
Recommended few choices of box makers and materials.
Focus more on the packaging and visual design.
pushing the boundary of design for our concern.
Differentiate the existing product and packaging in the market.
look at the concept of design of everyday life, following function (forms following function)
Concept suggestions like a treasure box, each compartment is more intimate.
different categories of moods for affirmation (intimate) etc.
A non judgemental box and more choices in the box overall.
Users can express with the item and users that has problem with speaking - non verbally
- Suggestion on adding lock on the drawer compartment (Optional)
Update progress for week 2 & 3
Complete the priority tasks first (packaging design, Journal & Affirmation Cards)
Proceed with Ms Vittiyya’s feedback on the logo design and visual idea on the project.
Advised to proceed with the brand logo and keep it looped and direct meaning
Users can express with the item and users that has problem with speaking - non verbally
use a rigid box material for the box
construct a straight top box instead of slanted
measure the shelve size for the product packaging
continue with the slide and add more compartments of drawers
create an app for the journal and a QR code.
Change the vibe of the affirmation cards design visuals more vibrant and gradient that will make more sense with our brand identity.
Suggest to figure out the stopper mechanism of the top drawer of the box packaging and finalise it before printing.
Reduce the MONTHS of the year on the pages section in the journal. Advised to create only 3 months as for now for product testing. If possible, re-arrange the content and pages.
Remove the “days” on each writing page in the journal and make it usable for any period of time.
- Advised to make the wordmark of “En’Sed” slightly bigger and readable.
Showed Ms Vitiyaa a few options and problems on printing the box packaging.
She suggested using acrylic and also a gray box board that would be sturdy.
She approved the layout idea of the interactive journal.
Suggested to change the design and colour theme of the reminder cards along with the text colour that would suit more with the vibe.
Approved the affirmation cards design.
Ms advised to apply the “kintsugi” effect aesthetic to the exterior of the box or explore around to create an aesthetic that would resonate with our project idea.
Sir advised to use a different material and explore what is suitable such as gray box board.
He suggested making the box simpler and maybe it would work for the printing experts to deliver our design. But it was optional.
Advised to proceed with the MDF board material for the box.
Complete the necessary products or items to be printed first.
Explore other suitable materials for the other parts of the box such as hinge, knob etc.
Overall the packaging or other things as in (collaterals) can be polished before this 27th submission if needed.
Ms was satisfied and liked our project outcome.
Prepare and polish what is needed if we are going to participate in the booth exhibition soon.
- Approved and satisfied with the outcome of the overall packaging and collateral prints.
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